A young ice cream vendor, Roberto Terranova, witnesses a child being beaten and comes to his aid by physically overpowering the aggressor. His strength and natural ability catches the eye of a well-known boxing trainer. Considering him a diamond in the rough, he aims to put Roberto in the professional ring. But Roberto finds that his personal challenges must be overcome before he can achieve professional greatness.

The film chronicles the adventures of a peasant family of the late nineteenth century to push through his work with the opposition and hatred of the rest of the villagers.

1944 Mexican film directed by Miguel M. Delgado

Historical drama about the period just before the beginning of the Mexican Revolution.

I have just seen this movie for the 12-15th time and I still find something extraordinarily fascinating every time I watch it. This movie is based on a novel by Venezuela's Romulo Gallegos one of Latin America best writer. The movie is so profound, because you can see so many aspects of the human being in it. You can find hate, witchcraft, religion, love, impotency and repentance, mainly because of the ignorance of people. This movie develops in the great Venezuela Savannahs, where the law of the stronger prevailed. The dialogs, so strong and captivating, are possible due to Gallegos very strong command of the Spanish Language and the slang of the peasants of that region. As I have mentioned before for a couple of other movies, this one is best appreciated if you understand Spanish. I may see it again another dozen times, and I am sure I would still enjoy it, as I hope you may too. This movie is officially rated as the 75th in importance in the Mexican Cinematography, to which I TOTALLY DISAGREE.

The film features Fernandez himself as a character named Rogellio Torres. The lion's share of the footage, however, is devoted to the romance between Esperanza, granddaughter of a common laborer, and Jose Luis Castro, the firebrand son of a landowner. Joining a revolutionary movements, Castro is disowned by his father, but Esperanza remains loyally by his side. Later on, Castro's father is killed by outlaws; in seeking vengeance, he sacrifices his own life, while Esperanza carries on his revolutionary work with their young son in tow.

1942 film directed by Emilio Fernández

流浪汉Cantinflas，是一位富人家女佣的男友。一日，女佣要Cantinflas进屋来杀死一只疯狗。恰巧富人突然出现，女佣只好跟富人说Cantinflas是其妻子失散多年的兄弟。富人想起他岳父的遗嘱中要求必须将所有的兄弟全聚在一起才能给他报酬，因此将流浪汉Cantinflas当国王般对待...

The Mexican Revolution is on its way when six brave peasants, known as "Los Leones de San Pablo", decide to join Pancho Villa's army and help end the suffering in their community by assisting in the struggle. After several battles and valiant heroics, the original group is eventually reduced to the leader Tiburcio Maya (Frausto) and young Becerrillo (Vallarino). When Becerrillo is infected by smallpox, Villa orders Tiburcio to kill him and burn the corpse. After reluctantly doing his duty, Tiburcio is ordered to leave the army, and returns home.

大庄园主菲利普和工头弗朗西斯科这对好友同时爱上了美丽的克鲁兹.菲利普在不知道克鲁兹已与弗朗西斯科相爱的情况下,试图用金钱收买克鲁兹.最终两人
导演简介：费尔南多.德.福恩特斯，墨西哥电影导演。1895年12月13日生于韦拉克鲁斯，1958年卒于墨西哥城。早期任剧院经理，1932年导演了第一部影片《匿名信》，次年﹐他拍摄了《门多萨老兄》，该片的风格独特，感染力强，他执导的《我们跟随潘乔.比利亚前进》(1934)反映了墨西哥的农民起义，是一部具有史诗意义的影片。1936年，他拍了民间喜剧片《大庄园》，该片质量虽不及前两部，但上座率很高。1942年他拍摄了墨西哥第一部彩色片《在哈利斯科喜欢如此》。以后他拍的影片大多是民间喜剧片。德富恩特斯是30年代末、40年代初墨西哥最著名的导演之一，他在创造中注意美学，讲究镜头的运用及移动摄影。他导演的其它影片还有《13号俘虏》(1933)、《在墨西哥的天空下》(1937)、《堂娜·芭芭拉》(1943﹐根据委内瑞拉作家R·加列戈斯的同名小说改编)、《没有灵魂的女人》(1943)等。

1935 film by Carlos Navarro

在一个哥特式的修道院里，一位名叫哈维尔的修士看到另一位修士胡安的脸，突然试图用沉重的十字架将他打死。两个人随后讲述了他们之间一段浪漫竞争的故事。

Alfonso, Eduardo and Cristina get lost when visiting a forest. A strange monk finds them and takes them to an ancient convent. There, the three amigos suffer personality changes, specially Cristina who tries to seduce Alfonso in a strange coincidence to a story told by an old monk. After some efforts to escape, Alfonso is trapped inside a jail and more strange and macabre situations happen.

Starting with the leading performance from the first diva in Mexican cinematography according to some (Andrea Palma), without forgetting Domingo Soler who also makes a great contribution to the cast in this film, then the great strength of the plot and the masterful direction by Arcady Boytler. All in all this movie cannot be considered less than excellent. So yes, maybe some of the scenes don't result quite the way they should, but most of them do. Particularly the scene from the carnival at the beginning of the movie and the last scene bring you to the verge of tears. Yes it also many elements of a catholic moral (Rosario lives in guilt, her way of paying her sins is by means of sacrifice), but we have to consider the movie was released in 1934 and the Mexican society of the time had those values dictating our lives and, weather we take this into consideration or not, I think the the plot is really really tough and the theme very strong. Maybe nowadays we have many movies with plots that are twice or thrice as tough, but I think this is still a great, great movie and has no soap opera can never even remotely compare with it. Also, it is one of the first movies with recorded sound in the Mexican film industry.

Colonel Carrasco's wife Marta leaves him taking his young son. The child, Juan, grows into an admirable and well-mannered young man. Having been promoted to a higher rank of power amidst the Mexican Revolution, the indulgent and corrupt Colonel accepts a bribe to free a revolutionary, Felipe Martinez, from his prison. Martinez has been sentenced to execution at the hands of a firing squad. Carrasco asks to have the revolutionary replaced by absolutely anyone. In a twist of fate, that anyone turns out to be his own long lost son Juan. Upon receiving this news, Marta races to the prison and explains the predicament to Carrasco. He subsequently desperately attempts to prevent the gunning down of his son by his very own government officials.

Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.

1927 film by Gabriel García Moreno

Adolfo, a railroad engineer, is sent to a provincial station to investigate a series of thefts from trains. The investigation uncovers the existence of an unknown gang, led by a man named Ruby, who finds ways of committing their crimes in broad daylight. Director García Moreno received the full cooperation of the National Railroad in the making of the film, and it still stands today as a document of the great technological advances made in Mexico during the 1920s.

A gang terrorizes Mexico City's high society in 1915. Murder, kidnaping and robbery are their trademarks. One police inspector (Cabrera) follows the gang's crimes and eventually sends them to jail.

1917 film